Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Peru and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1971.
I'm losing my edge.
To all the kids in Accra and Taipei.
I'm losing my edge to the art-school Cairo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Robert Görl to the crunk kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Sparks. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Nation of Ulysses,
Gil Scott Heron,
The Birthday Party,
Man Eating Sloth,
Strawberry Alarm Clock,
Joyce Sims,
The Gun Club,
KRS-One,
Niagra,
The Saints,
The Barracudas,
The J.B.'s,
Tim Buckley,
Negative Approach,
The Velvet Underground,
The Monks,
Reuben Wilson,
The Smiths,
Connie Case,
Janne Schatter,
Jeff Lynne,
Toni Rubio,
Make Up,
Bill Near,
Rufus Thomas,
Barry Ungar,
K-Klass,
Nick Cave & The Bad Seeds,
The Index,
Peter & Gordon,
Radiopuhelimet,
The Alarm Clocks,
Danielle Patucci,
X-101,
Half Japanese,
Zero Boys,
The Stooges,
JFA,
Erykah Badu,
Camouflage,
Dawn Penn,
Ludus,
Youth Brigade,
The Mojo Men,
The Sisters of Mercy,
Hardrive,
Minny Pops,
Fatback Band,
Warsaw,
EPMD,
The Associates,
Gastr Del Sol,
The Moody Blues,
Soft Cell,
Harry Pussy,
Marcia Griffiths,
Sex Pistols,
Quando Quango,
Theoretical Girls,
Sixth Finger,
Shuggie Otis,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.